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Title UPA A Century Later
Subject Newspapers; Newspaper publishing; Journalism
Creator Utah Press Association
Publisher Utah Press Association
Contributors Cornwell, J. M.
Date 1996
Type Text
Format application/pdf
Identifier PN4844.U8 U8 1996
Source Original Book: UPN A Century Later
Language eng
Rights Management Digital image copyright 2005, University of Utah. All rights reserved.
Holding Institution University of Utah
Source Physical Dimensions 14 cm x 21.5 cm
Metadata Cataloger Kelly Taylor
ARK ark:/87278/s6319w0z
Setname uu_upa
Date Created 2005-05-10
Date Modified 2005-05-10
ID 416710
Reference URL

Page Metadata

Title Page230
Description UTAH PRESS ASSOCIATION screened copy, were much better and advertisers liked the way their products were pictured. So there seemed to be a plus to go with each minus in the offset argument. Utah was certainly not out of step. Nationally, the number of offset newspapers jumped from 200 as the 1950s passed by to more than 1,500 in 1965 and over 5,000 before the decade of the 1970s. Still there continued to exist the school of thought exemplified by Norm Fuellenbach, then publisher of the Richfield Reaper, one of Utah's outstanding weeklies. In 1962 he bought from Alex Dunn the Goss Cox-O-Type letterpress being replaced by the Goss Suburban offset at the Tooele Transcript-Bulletin. The Reaper was one of many "hold-outs" which defied offset conversion for several years. The switch to offset was preceded by a decade of new ideas injected into newspaper production. Some aimed to make it faster; some sought to reduce costs; some were designed to breathe new appearance into rather stodgy-looking pages. Most newspapers shrugged off those developments because they could see no way to adapt them into their operations. They did, though, applaud two new methods of making halftones. Fairchild's Scanagraver was first, followed within a short time by the competing Photo Lathe, built by Graphic Electronics of Illinois. The Fairchild machine reproduced on plastic; the Photo Lathe on lightweight metal. Both were less expensive than zinc engravings and speeded up the process since they were located right in the production plant. Few smaller papers had experienced the luxury of in-house engraving although larger ones had long since had that capability with zinc etchings. The reaction of Jean Debouzek, whose engraving plant was then one of Salt Lake City's leaders, brings a reminiscent laugh to Rosellen Staats (then Rosellen Vogeltanz). She operated the Murray Eagle's Scanagraver as an adjunct to her office manager duties and Debouzek periodically called there in pursuit of business. "The Scanagraver exhausted its fumes with a pipe that went through the outside wall," she recalls, 230
Format application/pdf
Identifier 238-UPA_Page230.jpg
Source Original Book: UPA A Century Later
Setname uu_upa
Date Created 2005-05-10
Date Modified 2005-05-10
ID 416241
Reference URL